MoMA | Andy Warhol. Gold Marilyn Monroe. 1962 See this work in MoMA’s Online Collection Soon after her tragic death in 1962, Warhol made a series of paintings paying tribute to Marilyn Monroe, the film star and sex symbol who had captured America’s imagination in films like Gentlemen Prefer Blondes and How to Marry a Millionaire. Warhol based this portrait on a publicity still from the 1953 film Niagara. He painted the background gold before silkscreening the boldly colored face in the center, adding black to show her features. Even as Warhol canonizes Monroe, he reveals her public persona as a carefully structured illusion. Original publicity still for the 1953 film Niagara A group of artistic, literary, or musical works that are generally accepted as representing a field. Glossary Assembly Line Art? In August 1962, Andy Warhol began to produce paintings using the screenprinting process. He recalls, “The rubber-stamp method I’d been using to repeat images suddenly seemed too homemade; I wanted something stronger that gave more of an assembly-line effect.

With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It all sounds so simple—quick and chancy. I was thrilled with it. My first experiments with screens were heads of Troy Donahue and Warren Beatty, and then when Marilyn Monroe happened to die that month (August 1962), I got the idea to make screens of her beautiful face.” (Andy Warhol, Popism, 1980) Multiplying Marilyn Warhol took Marilyn Monroe as his subject in different mediums, silkscreening the actress’s image multiple times in a grid in bright colors and in black and white. By repeating Monroe’s image (and that of other celebrities) over and over again, Warhol acknowledged his own fascination with a society in which personas could be manufactured, commodified, and consumed like products.

Multimedia Andy Warhol's Marilyn Prints font size: a a a Andy Warhol's Marilyn Prints In the 1960s, Andy Warhol created several “mass-produced” images from photographs of celebrities such as Marilyn Monroe, Elvis Presley and Jackie Onassis. Andy Warhol (1928-1987) was a key figure in Pop Art, an art movement that emerged in America and elsewhere in the 1950s to become prominent over the next two decades. The Fauves used non-representational color and representational form to convey different sensations. Apply the same idea to the portrait of Marilyn Monroe below, using the controls to adjust the colors. How does the color affect the mood? Unlike the Fauve colors, the non-representational colors of Pop Art do not depict the artist’s inner sensation of the world. They refer to the popular culture, which also inspires Warhol to experiment with the technique of silkscreen printing, a popular technique used for mass production. In doing so, Warhol moves away from the elitist avant-garde tradition. Initially, many spectators received this new marriage between art and commodity culture with little enthusiasm.

Warhol discusses his choice of color in this 1981 recording. Press the play button to listen to his comments. On the occasion of Marilyn Monroe’s suicide in August 1962, Warhol used this image for his screenprinting. It was a publicity shot by Gene Korman for the film Niagara, made in 1953. Warhol was fascinated with morbid concepts. Sometimes, however, the results are astonishingly beautiful, such as the resonating, brilliantly colored images of Marilyn Monroe. The Marilyn canvases were early examples of Warhol’s use of silkscreen printing, a method the artist experimented with, recalling: In August 62 I started doing silkscreens. I wanted something stronger that gave more of an assembly line effect. With silkscreening you pick a photograph, blow it up, transfer it in glue onto silk, and then roll ink across it so the ink goes through the silk but not through the glue. That way you get the same image, slightly different each time. It was all so simple quick and chancy. I was thrilled with it. When Marilyn Monroe happened to die that month, I got the idea to make screens of her beautiful face the first Marilyns.

Using photo-stencils in screen-printing, Warhol uses photographic images for his screenprints. The screen is prepared using a photographic process, and then different color inks are printed using a rubber squeegee to press the paint onto the painting through the screen. 'Marilyn Diptych', Andy Warhol, 1962 | Tate Marilyn Diptych Support (each): 2054 x 1448 x 20 mm Collection Catalogue entry Display caption Marilyn Monroe died in August 1962, having overdosed on barbiturates. In the following four months, Warhol made more than twenty silkscreen paintings of her, all based on the same publicity photograph from the 1953 film Niagara. Warhol found in Monroe a fusion of two of his consistent themes: death and the cult of celebrity. By repeating the image, he evokes her ubiquitous presence in the media. The contrast of vivid colour with black and white, and the effect of fading in the right panel are suggestive of the star’s mortality.

Gallery label, February 2016 T03093 MARILYN DIPTYCH 1962 Both canvases inscribed on back ‘Andy Warhol/62’ Acrylic on canvas (diptych), each panel 80 7/8×57 (205.4×144.7); overall dimensions 80 7/8×114 (205.4×289.4) Purchased from Mr and Mrs Burton Tremaine through the Pace Gallery, New York (Grant-in-Aid) 1980 Prov: Mr and Mrs Burton Tremaine, New York and Meriden, Conn.

(purchased from the artist through the Stable Gallery, New York, 1962) Exh: Six Painters and the Object, Guggenheim Museum, New York, March–June 1963 (works not numbered); The New Art, Davison Art Center, Wesleyan University, Middletown, Conn., March 1964 (43, repr.-the left-hand panel only, probably the only part exhibited); The Atmosphere of '64, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, April–June 1964 (works not numbered); The New American Realism, Worcester Art Museum, Worcester, Mass., February–April 1965 (works not numbered, repr.); Art of the United States: 1690–1966, Whitney Museum, New York, September–November 1966 (284); Works by Leading Artists in Homage to Marilyn Monroe, Sidney Janis Gallery, New York, December 1967 (47, repr.); Andy Warhol, Pasadena Art Museum, May–June 1970 (works not listed); Museum of Contemporary Art, Chicago, July–September 

1970 (works not listed); Stedelijk van Abbemuseum, Eindhoven, October–November 1970 (works not listed); Musée d'Art Moderne de la Ville de Paris, December 1970–January 1971 (works not listed); Tate Gallery, February–March 1971 (19, repr.); Whitney Museum, New York, April–June 1971 (works not listed); Printed Art: A View of Two Decades, Museum of Modern Art, New York, February–March 1980 (works not numbered, repr.

in colour); Major Works of the '60s, Pace Gallery, New York, April 1980 (no catalogue) Lit: Rainer Crone, Andy Warhol, 1970, no.67, p.289, repr.p.118 Repr: Jules David Prown and Barbara Rose, American Painting from the Colonial Period to the Present, New York 1977, p.212 in colour; Milton W.Brown, Sam Hunter, John Jacobus and others, American Art: Painting-Sculpture-Architecture-Decorative Arts-Photography, New York 1979, p.558 in colour; The Tate Gallery: Illustrated Biennial Report 1980–82, 1983, p.50 in colour Marilyn Monroe died tragically from an overdose of sleeping pills on 5 August 1962, the same month that Warhol started doing silkscreens.

Between then and the end of the year he made at least twenty-three paintings of her using a silkscreen technique, all based on the same photograph , a 20th Century Fox still taken by Gene Kornman as publicity for the film Niagara of 1953. Some are in colour and some just in black and white. The present work, which consists of two panels, the left-hand one in colour and the right-hand in black and white, each panel with twenty-five images in five rows, is the largest of his early paintings of her and is usually regarded as the culmination of the series. Mrs Burton Tremaine, who with her husband bought it from him in 1962, soon after it was completed, recalls: 'We bought the picture directly from Andy Warhol at his Studio, before he had a dealer. I think it was Ivan Karp who urged us to go to Warhol's house on Lexington Avenue. His house was opposite a supermarket, and the soup cans were quite visible from his front entrance. Andy had two stereo machines running at high pitch, one playing Bach, the other Rock. Andy himself was the only low key note in the Studio.

He seemed shy and it took a bit of coaxing before he showed us everything, and we bought several pieces that day. He first showed us the black MARILYNS, and several pictures later the coloured one appeared. I said I thought they should be presented as a diptych , Andy replied “gee whiz yes” so he brought back the black one, stood it next to the coloured one and we all saw we had achieved a very complex and moving statement about MARILYN so I really felt I was a collaborator! And, of course, we bought them both.’ (Letter of 22 September 1982.) Because of its size the Tremaines were not able to hang it in their home very often, so they lent it for most of the time from 1970 onwards to the Wadsworth Atheneum at Hartford, Connecticut, where their son was President for several years.

Included in the exhibition Printed Art at the Museum of Modern Art, New York, in the early part of 1980, it was withdrawn from the exhibition early, at the end of March, for inclusion in Major Works of the '60s at the Pace Gallery, which was a show of works from the Tremaines's collection. Published in: Andy Warhol Most Important Art | The Art Story Artwork Images Campbell's Soup Cans (1962) Artwork description & Analysis: By the 1960s, the New York art world was in a rut as Abstract Expressionism’s explosion of the 1940s and '50s had grown stale. Warhol was one of the artists hungry to reintroduce imagery to his work. The gallery owner and interior designer Muriel Latow presented Warhol with the idea of painting soup cans, when she suggested to him that he should paint objects that people use every day. (It is rumoured that Warhol ate the soup for lunch on a daily basis). Because Warhol was already an extremely successful consumer ad designer, he used the techniques of his trade to create an image that was both easily recognizable and visually stimulating.

He was well versed in the concepts of the advertising industry, which was currently invading the American psyche with its promise of happiness through abundant consumerism. He mirrored this by painting soup cans on thirty-two canvases aligned on a wall to denote the experience of being in a well-lit supermarket. With this installation, Warhol became credited with envisioning a new type of art that glorified (and also criticized) the nation’s impetus toward consumption. Warhol would go on to say about his ethos of putting ordinary items front and center, "I just paint things I always thought were beautiful, things you use every day and never think about." Synthetic polymer paint on thirty-two canvases - The Albright Knox Gallery, Buffalo, New York Artwork Images Coca-Cola (3) (1962) Artwork description & Analysis: Warhol used universal imagery that was instantly recognizable and loved by the public, allowing him to connect to society in very visceral ways opposite the intellectualism necessary for understanding prior fields such as Abstract Expressionism. A famous example of this is his hand painted Coca-Cola bottle, a human-scale portrait of the Popular soft drink in dramatic black and white.

The beverage represented a cool aesthetic with its familiar curves and promise of refreshment and inclusion within the lexicon of contemporary culture. It was also a symbol of equalization reflected as such in Warhol’s statement: "What’s great about this country is that America started the tradition where the richest consumers buy essentially the same things as the poorest. You can be watching TV and see Coca Cola, and you know that the President drinks Coca Cola, Liz Taylor drinks Coca Cola, and just think, you can drink Coca Cola, too. A coke is a coke and no amount of money can get you a better coke than the one the bum on the corner is drinking. All the cokes are the same and all the cokes are good. Liz Taylor knows it, the President knows it, the bum knows it, and you know it." On the flip side, the Coca-Cola bottle can be seen as a sign of modern mass-consumerism as one of the most recognizable brands in the world, a by-product of the corporatization of lifestyle.

Casein on cotton - Private Collection Artwork Images Gold Marilyn Monroe (1962) Artwork description & Analysis: After her sudden death from an overdose of sleeping pills in August 1962, superstar Marilyn Monroe's tragic life and unforgettable career became a worldwide obsession. Fame-infatuated Warhol obtained one of the black-and-white publicity photos from her 1953 film Niagara and used it to create several series of similar images, discernible only in their color changes. This repetition of images remarked upon the way Marilyn’s face had been, and would continue to be, printed ad infinitum in newspapers and magazines, elevating her to icon status. Warhol’s commentary analyzed the way we become numb to the individual person behind the celebrity façade when inundated by imagery meant to represent said person. It also commented upon the way media saturation dulls our senses, creating dissociation between events and ourselves when fed the same visuals and messages over and over again. In the Gold Marilyn Monroe, Warhol uses the commanding presence of a gold colored background to represent her legendary status within the communal psyche as one of the highest material value. This background is reminiscent of Byzantine religious icons that are the central focus in Orthodox faiths to this day.

Only instead of a god, we are looking at an image (that becomes a bit garish upon closer inspection) of a woman who rose to fame as a national sex symbol and died via horrible tragedy. Warhol subtly comments on our society, and its glorification of celebrities to the level of the divine. Here again the Pop artist uses common objects and images to make very pointed insights into values and surroundings of his contemporaries. Silkscreen - Museum of Modern Art, New York Like The Art Story on Facebook Andy Warhol and More at Online Auctions Artwork Images Sleep (1963) Artwork description & Analysis: In the early 60s, during a period of immense creativity, Warhol continued to challenge the status quo through film. By creating performative versions of the banalities of life, Warhol evolved his love of the mundane and ordinary as muses in an entirely new medium. Sleep is one of the artist's earliest films and his first foray into durational film, a style focused on presenting work culled in "real time" that became one of his signatures. This six-hour movie is a detailed exploration of Warhol’s lover at the time, John Giorno, sleeping.

In it, we see a strip of a naked body in every scene. Although this seems to be a series of continuous images, it is actually six one hundred foot rolls of film layered and spliced together, played on repeat. Repetition was at the heart of Warhol's oeuvre. Throughout his career Warhol made over 650 films spanning a wide range of subjects. His films were lauded by the art world, and their influence is seen in performance art and experimental filmmaking to this day. For example, in 2013 the actress Tilda Swinton participated in an installation where she slept in a glass box at MoMA for an extended period of time. Writer, actress, and director Lena Dunham recently expressed her desire to remake Warhol's Sleep shot for shot, only with herself as subject. The films Empire and Eat followed Sleep in Warhol’s duration canon. Empire chronicles eight hours of the Empire State Building at dusk and Eat is a 45-minute long look at a man eating a mushroom. Warhol's themes were as expansive as his filmography. He even delved into more explicit areas such as homosexuality and gay culture.

In Blowjob we find a continuous shot of DeVeren Bookwalter's face while he receives oral sex from filmmaker Willard Maas. Lonesome Cowboys cheekily morphs the Western genre into a work of raunch. His films are widely recognized as Pop masterpieces, enshrined in film institutes and modern art archives across the world. Black and White 16mm film - Museum of Modern Art, New York Artwork Images Orange Car Crash Fourteen Times (1963) Artwork description & Analysis: Orange Car Crash is from the Death and Disaster series that consumed much of Warhol's attention during this period. He often used gruesome, graphic images stripped from daily newspapers, photo silk-screening them over and over again across his canvases. The repetition of the image would lead to its fragmentation and degradation, hinting at the way our senses dull when continually barraged by the same news repetitively. To see a devastatingly graphic photo once leaves the viewer distraught and shaken - but to see that photo reproduced over and over again makes the viewer unable to comprehend it any longer, diffusing initial shock and horror into simply another mass-marketed image.

There is an alternative way to view this and other works from Warhol's Death and Disaster series proposed by the Los Angeles Times art critic Christopher Knight. The car crash shown is very similar to the photo of the Long Island car crash where Jackson Pollock died in 1956. Warhol might be reminding viewers that Abstract Expressionism (championed by Pollock) is now dead. Perhaps Warhol was attempting to provide very specific commentary on the elitism of the art world. Similarly, the Electric Chair series bears a "Silence" sign at the back of the depicted electrocution room, which Warhol connects to John Cage's modernist work with the same name (and his 1961 book of essays). Even further, Warhol's Race Riot series is a response to the many popular abstract works that are each labelled Black Series from modern artists such as Jackson Pollock, Robert Rauschenberg, Ad Reinhardt, and Frank Stella.

Silkscreen print on canvas - Museum of Modern Art, New York Artwork Images Brillo Boxes (1964) Artwork description & Analysis: With Brillo Boxes, Warhol presented the viewer with replicas of a commonly used product found in homes and supermarkets, again placing the everyday object into the spotlight. Using his signature silkscreen technique to print the pieces on plywood, Warhol then constructed three-dimensional boxes, identical in size that could be arranged in various ways within the gallery setting. At the time there were several noted artists working with the replication of imagery. Roy Lichtenstein’s famous series of Monet’s haystacks or cathedrals had debuted, showing the repeated use of an image, only distinguishable from one another by varying color schemes. But Warhol’s Brillo Boxes were all the same, signalling a nod to the democratic beauty in a mass-produced aesthetic. Warhol’s art making practices at this time largely took place in his self-termed "factory" thus challenging the connotations of artist versus manufacturer. Brillo was made of steel wool, a product stereotypically used by housewives to keep cookware shining in their lovely American homes. To this, perhaps Warhol had a personal connection.

He was originally from Pittsburgh, the city of steel and the commodity was credited for the city’s prosperity and later, its depression. Did Warhol like the product itself, think the store displays for the product ridiculous, or as a gay man, did he enjoy the contrast of steel and wool, in one friendly package? Acrylic silkscreen on wood - Norton Simon Museum, Pasadena, California Artwork Images Mao (1973) Artwork description & Analysis: Warhol combined paint and silkscreen in this image of Mao Zedong, a series created in direct reaction to President Richard Nixon's 1972 visit to China. Warhol took the black and white image of Mao from his Little Red Book (Mao's famous communist publication), and created hundreds of different sized canvases of the totalitarian ruler. Some of these paintings are as large as 15 feet x 10 feet, a scale evoking the dominating nature of Mao's rule over China and the awesome cult of personality he wielded. The monumental size also echoed the towering propagandistic representations that were being displayed throughout China during the Cultural Revolution.

By creating hundreds of Mao images and lining them up on the wall, Warhol turned the man into a product, which anyone could own in their preferred size of small, medium or large. Mao became no different than a bottle of Coca-Cola, a consumerist choice on a grocery store shelf. This new Mao could be bought and sold as a piece of merchandise, a basic building block of capitalism, to which Communism was in emphatically opposed. Warhol’s anti-Communism messages in this piece heralded personal expression and artistic freedom – the very ideas that Mao’s Cultural Revolution was against. He accentuated this interpretation through the use of graffiti-like splashes of color - where the red rouge and blue eye shadow literally 'de-face' Mao's image. This act of rebellion used its own heralded image against itself. He also used modernist art devices such as expressionistic brushstrokes around Mao's face as a further pun, symbolizing the enforcement of his own voice over that of the foreign leader’s.

Synthetic polymer paint and silkscreen ink on canvas - The Art Institute of Chicago Artwork Images Oxidation Painting (1978) Artwork description & Analysis: Created late in Warhol's career, Oxidation Painting is part of a series of works that was produced by the artist alone, or with a group of friends, made by urinating on a canvas of copper paint that was placed horizontally on the floor and then allowing the result to oxidize. The chemical reaction produced a surface reminiscent of works by Abstract Expressionists such as Jackson Pollock, a metallic sheen with surprising depth of color and texture. Warhol put much thought and design into these works, and is quoted as saying, "[these paintings] had technique, too. If I asked someone to do an Oxidation painting, and they just wouldn't think about it, it would just be a mess. Then I did it myself - and it's just too much work - and you try to figure out a good design." The act of urination can be seen in itself as Warhol’s rebellious way of literally pissing on the art world’s elevated concepts of abstraction while simultaneously producing work within its canon.

Urine on metallic pigment in acrylic pigment on canvas - Museum of Fine Arts, Boston Artwork Images Rorschach (1984) Artwork description & Analysis: Although Warhol's earliest work declared a dramatic break with Abstract Expressionism, he remained interested in abstraction throughout his career, and, in 1984, focused his ideas into a large series of Rorschach paintings. The so-called Rorschach test, devised by the Swiss psychologist Hermann Rorschach, inspired them. The test requires patients to divulge images personally seen in a set of ten standardized ink blots; in this way Rorschach believed we might gain access to unconscious thoughts. Warhol believed that abstract painting functioned in a similar way: instead of artists being able to communicate thoughts through abstract form, as many believed, he thought that viewers' simply projected their own ideas on to the pictures. His Rorschach pictures were therefore a kind of parody of abstract painting: mirrors into the viewer's own thoughts, resembling everything from genitalia or wallpaper designs.

Synthetic polymer paint on canvas - Museum of Modern Art, New York Artwork Images General Electric with Waiter (1984) Artwork description & Analysis: It was at the suggestion of art dealer Bruno Bischofsberger that Warhol began collaborating on paintings with other artists. This led to the creation of works with the Italian Francesco Clemente, the much younger, Haitian-American painter Jean-Michel Basquiat, and later, Keith Haring. Warhol's reputation was flagging in the early 1980s, and he had painted little since the 1960s, but his collaboration with Basquiat, which spanned two years between 1984-5, energized him and placed him amidst a young and more fashionable generation. Warhol’s fondness of Basquiat veered into a supportive mentorship role; he recognized the exuberance and street energy in the young artist as something fresh and new and even invested in some of the artist’s early paintings. General Electric with Waiter is typical of the pictures the pair produced together: Warhol contributed enlarged headlines, brand names and fragments of advertisements; Basquiat added his expressive graffiti.

The success of the series rested on the cartoon qualities inherent in both Pop art and graffiti. Acrylic and oil on canvas - Collection unknown Artwork Images Self-Portrait (1986) Artwork description & Analysis: By the time Warhol painted this seminal self-portrait he himself had reached the very iconic status that his earlier portraits of Marilyn Monroe, Elvis Presley, and Jackie O winked at. His metamorphosis from nerdy, shy, balding designer to art world star in his signature black turtleneck and shocking white wig is arguably one of his greatest works of art. This piece can be seen as an artist’s reconciliation with his own impending mortality, one which would not go by unrecognized as he places himself on the canvas, cementing his own place within very halls of vanitas his work remarked upon throughout his career. In this particular work, the focus is on Warhol's head and wig (one of dozens he wore over the years). By using repetitive images, each slightly different to the next, and then overlapping the images, Warhol produces the illusion of movement. He becomes an all knowing and floating spectral presence, accentuated by the dramatic use of shadow and light.

Synthetic polymer paint and silkscreen ink on canvas - National Gallery of Art, Washington D.C. Including Overview, Key Ideas, Biography, Useful Resources, and Related Topics to Andy Warhol Related Art and Artists Fountain (1917) Artist: Marcel Duchamp Artwork description & Analysis: The most notorious of the readymades, Fountain was submitted to the 1917 Society of Independent Artists under the pseudonym R. Mutt. The initial R stood for Richard, French slang for "moneybags" whereas Mutt referred to JL Mott Ironworks, the New York-based company, which manufactured the porcelain urinal. After the work had been rejected by the Society on the grounds that it was immoral, critics who championed it disputed this claim, arguing that an object was invested with new significance when selected by an artist for display. Testing the limits of what constitutes a work of art, Fountain staked new grounds. What started off as an elaborate prank designed to poke fun at American avant-garde art, proved to be one of most influential artworks of the 20th century.

Urinal - Philadelphia Museum of Art Skyway (1964) Artist: Robert Rauschenberg Artwork description & Analysis: While Rauschenberg was no stranger to collaged found imagery, the silkscreen technique reinvigorated his artistic practice in the early 1960s. After Andy Warhol introduced him to the photo-silkscreen technique. Rauschenberg created a series of silkscreen paintings that allowed for an open-ended association of meanings through his appropriation and arrangement of mass media imagery. In Skyway, Rauschenberg wanted to communicate the frenetic pace of American culture encapsulated in the early half of the decade, particularly as represented on television and in magazines. He stated, "I was bombarded with television sets and magazines, by the excess of the world. I thought an honest work should incorporate all of those elements." He created the work in the year following the assassination of John F. Kennedy. Kennedy was a potent symbol for change, even though he was struck down only halfway through his first term as president.

The image of Kennedy appears twice in the upper half of the painting surrounded by images that illustrate the ideals of American progress in the second half of the twentieth century including an astronaut, the bald eagle, and a large, mechanical crane surrounded by a demolished building. The lower half of the canvas contains a repeated image of Venus at Her Toilet (1608) by Peter Paul Rubens. The mirror within the painting expands the image into the viewer's space, mirroring the world around them as well as the world around Rauschenberg when he created the work. While the appropriated images can be read as politically and socially laden, Rauschenberg claimed he aimed to encapsulate the contemporary climate rather than comment on it, using "simple images" to "neutralize the calamities that were going on in the outside world." Oil and silkscreen on canvas - Dallas Museum of Art Marilyn Turquoise Marilyn , 1962 Warhol was fascinated with Hollywood superstars. Turquoise Marilyn is one of about thirty different silkscreen editions of this famous face created between 1962 and 1964. All the pictures in these series are based a promotional photograph Warhol purchased from the 1953 film Niagara.

Warhol painted Marilyn's public image, glamorous, seductive, and garish. It's the only image most of us are familiar with, really. Where Marilyn's public mask ended and the real person began, however, remains a mysteryjust as it has with Warhol himself. The artist's Marilyns, like his other portraits, communicate a machine aesthetic, flat and deadpan. Do they express Warhol's notion that "everybody should be a machine"? Here's a sampling of Marilyn criticism: At his strongestand I take this to be in his Marilyn Monroe paintingsWarhol has a painterly competence, a sure instinct for vulgarity (as in his choice of colors) and a feeling for what is truly human and pathetic in one of the exemplary myths of our time that I for one find moving; but I am not at all sure that even the best of Warhol's work can much outlast the journalism on which it is forced to depend. Michael Fried, "New York Letter," 1962 Some consideration should be given to the portraits Warhol has done .

In the long run, it may be these works which emerge at his best, because in the portraits, especially in those of Marilyn Monroe and the Elizabeth Taylor, the artist has carried his theme of the machine product to its logical, if disquieting, conclusionpeople as machine products, commercial property. Paul Bergin, Andy Warhol: The Artist as Machine," 1967 Marilyn Monoprint · Flavor Paper Marilyn Monoprint Designed by Flavor Paper/Andy Warhol Featured in the Andy Warhol Collection Andy Warhol created a series of Marilyn Monroe silkscreen paintings shortly after her suicide in August 1962. Each piece in the photo-silkscreened paintings and screen prints derive from a publicity photo of Monroe from the 1953 film Niagra, which Warhol helped make into the most widespread, recognizable image of the actress. Towards the end of his career, Warhol revisited his most popular works from the 1960s and printed them as negatives, known as the Reversal series.

Flavor Paper emulates the Marilyn Monroe Reversal paintings through a unique printing technique called monoprinting in which paint is applied directly to the screen prior to printing Marilyn Reversal overtop. This monoprint technique creates one-of-a-kind print impressions; a wall composed of these large-scale prints would be extremely varied, yet consistent with a unified Marilyn foreground. Available in Black with a Technicolor blend, White with a Deep Blue and Burgundy blend, Silver Diamond Dust with a Hot Pink blend on Chrome Mylar, and Gold Diamond Dust on Bright Gold Mylar. Blends can incorporate matte, gloss, transparent, glittered and/or Day-Glo inks. Marilyn Monoprint is also customizable with two main color blends and liberally added accents. *Please note: when printing full-color transparent background screens as used in Marilyn Monoprint White, there is an inevitable overlap line every 5’. The line is about 1/12” thick and we do our best to ensure they are as discreet as possible (see B-A-N-A-N-A-S, Cyan Chrome). Please contact us if you have any concerns.

“Kiss me with your eyes” — Andy Warhol Pattern Repeat 35 inches 88.90 cm Select a Colorway and Ground Black on Chrome Mylar Full mirror-finish polyester face with non-woven backing. Most reflective material available, picks up any colors and movement in the room. Diamond Dust Hot Pink on Chrome Mylar Full mirror-finish polyester face with non-woven backing. Most reflective material available, picks up any colors and movement in the room. Gold Diamond Dust Bright mirror-finish gold face with non-woven backing. White on Chrome Mylar Full mirror-finish polyester face with non-woven backing. Most reflective material available, picks up any colors and movement in the room. You're looking at a Handscreened Wallpaper. Select a Size If you're buying by the roll, once you've selected that size we'll give you a handy calculator to help determine how many you need. Sample (8.5" × 11") $3 ea. Roll (27" × 15') $350 ea. Quantity Pattern Repeat and Match are incorporated into the Quantity calculation, and is only an estimate. We cannot be responsible for incorrect quantities ordered. A professional installer can provide you with exact quantities required.

Hand Screened Wallpapers are printed to order and take 2-4 weeks to ship. Hand Screened samples ship within 2 business days. If you have concerns about lead time, call us at 718.422.0230 before placing your order. Add to Cart Warhol Prints of Marilyn - Vertu at Roseberys Warhol Prints of Marilyn Warhol Prints of Marilyn April 11, 2016 Join our newsletter Sign up for our Newsletter to get exclusive news, pre-sale announcements and auction information about lots that interest you. Find out more Register with us Register with Vertu at Roseberys to add items to your watch list, set up auction alerts, and place bids online. Register Login Request a free valuation Use our online valuation form to submit details of your items, or contact us to arrange a home visit to have your collection appraised. 11 April 2016 120 Marilyn Monroe “Imperfection is beauty, madness is genius and it’s better to be absolutely ridiculous than absolutely boring”. Marilyn Monroe The Iconic and timeless girl once called Norma Jeane Dougherty has become the most recognised face in popular culture.

Immoritalised forever in Andy Warhol’s series of portraits. Vertu at Roseberys is delighted to offer four variations of this portrait in our Modern Print online Auction. In the following four months after Monroe’s death in 1962 from a barbiturates overdose, Warhol created more than twenty silkscreen paintings of Marilyn – all from a single publicity shot used for the 1953 film ‘Niagara’. For Warhol Marilyn was the perfect combination of his two greatest fascinations; death and the cult of celebrity and the repetition of her image alludes to universal popularity of the star, ever present in the tabloids ever after her untimely death. Each print is published by Sunday B. Morning; screenprint on museum board paper, stamped in blue on reverse, each print is 91.5 x 91.5cm and comes unframed. To browse and bid on this collection click HERE . Also available the ‘Campbells’ Soup’ series and ‘Flowers’ series.

Bidding starts from £110 To register to bid in this auction click HERE 119 Marilyn Monroe Auctions View the catalogues Browse catalogues for both online only auctions with Vertu at Roseberys, and live bidding auctions with our sister company, Roseberys London. Got something to sell? Get a valuation Use our online valuation form to submit details of your items, or contact us to arrange a home visit to have your collection appraised. Get inspired Read our latest news Check out the latest news from Vertu at Roseberys to get insider tips on styling your home with vintage antiques, and buying at auction. Fear of missing out? Stay up to date Sign up for our Newsletter to get exclusive news, pre-sale announcements and auction information about lots that interest you. 'Marilyn Diptych', Andy Warhol, 1962 | Tate Marilyn Diptych Support (each): 2054 x 1448 x 20 mm Collection Catalogue entry Display caption Marilyn Monroe died in August 1962, having overdosed on barbiturates.

In the following four months, Warhol made more than twenty silkscreen paintings of her, all based on the same publicity photograph from the 1953 film Niagara. Warhol found in Monroe a fusion of two of his consistent themes: death and the cult of celebrity. By repeating the image, he evokes her ubiquitous presence in the media. The contrast of vivid colour with black and white, and the effect of fading in the right panel are suggestive of the star’s mortality. Gallery label, February 2016 T03093 MARILYN DIPTYCH 1962 Both canvases inscribed on back ‘Andy Warhol/62’ Acrylic on canvas (diptych), each panel 80 7/8×57 (205.4×144.7); overall dimensions 80 7/8×114 (205.4×289.4) Purchased from Mr and Mrs Burton Tremaine through the Pace Gallery, New York (Grant-in-Aid) 1980 Prov: Mr and Mrs Burton Tremaine, New York and Meriden, Conn.

(purchased from the artist through the Stable Gallery, New York, 1962) Exh: Six Painters and the Object, Guggenheim Museum, New York, March–June 1963 (works not numbered); The New Art, Davison Art Center, Wesleyan University, Middletown, Conn., March 1964 (43, repr.-the left-hand panel only, probably the only part exhibited); The Atmosphere of '64, Institute of Contemporary Art, University of Pennsylvania, Philadelphia, April–June 1964 (works not numbered); The New American Realism, Worcester Art Museum, Worcester, Mass., February–April 1965 (works not numbered, repr.); Art of the United States: 1690–1966, Whitney Museum, New York, September–November 1966 (284); Works by Leading Artists in Homage to Marilyn Monroe, Sidney Janis Gallery, New York, December 1967 (47, repr.); Andy Warhol, Pasadena Art Museum, May–June 1970 (works not listed); Museum of Contemporary Art, Chicago, July–September 

1970 (works not listed); Stedelijk van Abbemuseum, Eindhoven, October–November 1970 (works not listed); Musée d'Art Moderne de la Ville de Paris, December 1970–January 1971 (works not listed); Tate Gallery, February–March 1971 (19, repr.); Whitney Museum, New York, April–June 1971 (works not listed); Printed Art: A View of Two Decades, Museum of Modern Art, New York, February–March 1980 (works not numbered, repr.

in colour); Major Works of the '60s, Pace Gallery, New York, April 1980 (no catalogue) Lit: Rainer Crone, Andy Warhol, 1970, no.67, p.289, repr.p.118 Repr: Jules David Prown and Barbara Rose, American Painting from the Colonial Period to the Present, New York 1977, p.212 in colour; Milton W.Brown, Sam Hunter, John Jacobus and others, American Art: Painting-Sculpture-Architecture-Decorative Arts-Photography, New York 1979, p.558 in colour; The Tate Gallery: Illustrated Biennial Report 1980–82, 1983, p.50 in colour Marilyn Monroe died tragically from an overdose of sleeping pills on 5 August 1962, the same month that Warhol started doing silkscreens.

Between then and the end of the year he made at least twenty-three paintings of her using a silkscreen technique, all based on the same photograph , a 20th Century Fox still taken by Gene Kornman as publicity for the film Niagara of 1953. Some are in colour and some just in black and white. The present work, which consists of two panels, the left-hand one in colour and the right-hand in black and white, each panel with twenty-five images in five rows, is the largest of his early paintings of her and is usually regarded as the culmination of the series. Mrs Burton Tremaine, who with her husband bought it from him in 1962, soon after it was completed, recalls: 'We bought the picture directly from Andy Warhol at his Studio, before he had a dealer. I think it was Ivan Karp who urged us to go to Warhol's house on Lexington Avenue. His house was opposite a supermarket, and the soup cans were quite visible from his front entrance. Andy had two stereo machines running at high pitch, one playing Bach, the other Rock. Andy himself was the only low key note in the Studio.

He seemed shy and it took a bit of coaxing before he showed us everything, and we bought several pieces that day. He first showed us the black MARILYNS, and several pictures later the coloured one appeared. I said I thought they should be presented as a diptych , Andy replied “gee whiz yes” so he brought back the black one, stood it next to the coloured one and we all saw we had achieved a very complex and moving statement about MARILYN so I really felt I was a collaborator! And, of course, we bought them both.’ (Letter of 22 September 1982.) Because of its size the Tremaines were not able to hang it in their home very often, so they lent it for most of the time from 1970 onwards to the Wadsworth Atheneum at Hartford, Connecticut, where their son was President for several years.

Included in the exhibition Printed Art at the Museum of Modern Art, New York, in the early part of 1980, it was withdrawn from the exhibition early, at the end of March, for inclusion in Major Works of the '60s at the Pace Gallery, which was a show of works from the Tremaines's collection. Published in: Andy Warhol Marilyn Monroe Wallpaper | Art Markit Description In 1962 Andy Warhol created a series of Marilyn Monroe silkscreen paintings based on publicity photos of Monroe from the film Niagra. These became the most widespread, recognizable image of the actress. Flavor Paper emulates the Marilyn Monroe paintings through monoprinting, a process that creates one-of-a-kind print impressions. Available in Black with a Technicolor blend, White with a Deep Blue and Burgundy blend, Silver Diamond Dust with a Hot Pink blend on Chrome Mylar, and Gold Diamond Dust on Bright Gold Mylar. Blends can incorporate matte, gloss, transparent, glittered and/or Day-Glo inks. Minimum order of 3 rolls (price listed is for 1 roll). Allow 6-8 weeks for hand printing.

©/®/TM The Andy Warhol Foundation for the Visual Arts, Inc. Why we love it? Because the star power is always inspirational.

Question: Who, starting in 1962, created a series of silkscreen paintings of Marilyn Monroe?
Answer: (Andy) Warhol